ROSSINI, G.: Stabat Mater (1832 Version) / Giovanna D'arco (Arr. M

Total Page:16

File Type:pdf, Size:1020Kb

ROSSINI, G.: Stabat Mater (1832 Version) / Giovanna D'arco (Arr. M ROSSINI, G.: Stabat Mater (1832 version) / Giovanna d’Arco (arr. M. Taralli) 8.573531 www.naxos.com/catalogue/item.asp?item_code=8.573531 Stabat Mater Stabat Mater [1] I. Stabat mater dolorosa The grieving Mother stood Juxta crucem lacrymosa, weeping by the Cross Dum pendebat Filius. where hung her Son. [2] II. Cujus animam gementem, Her spirit groaning, Contristatam et dolentem, saddened and grieving Pertransivit gladius. a sword has pierced. [3] III. O quam tristis et afflicta O how sad and afflicted Fuit illa benedicta was that blessed Mater Unigeniti! Mother of the Only-Begotten! [4] IV. Quae moerebat et dolebat Who mourned and grieved Et tremebat, cum videbat And trembled, when she saw Nati poenas inclyti. The punishment of her glorious son. [5] V. Quis est homo qui non fleret Who is the man that would not weep Christi Matrem si videret if he saw the Mother of Christ In tanto supplicio? in such torment? Quis non posset contristari Who could fail to feel sorrow Piam Matrem contemplari to regard the merciful Mother Dolentem cum Filio? grieving with her son? Pro peccatis suæ gentis For the sins of His people Vidit Jesum in tormentis she saw Jesus in torment Et flagellis subditum. and submitted to the scourge. [6] VI. Vidit suum dulcem natum She saw her sweet offspring Morientem desolatum forlorn in dying Dum emisit spiritum. as He yielded up His spirit. [7] VII. Eia, Mater, fons amoris, Ah, Mother, fountain of love, Me sentire vim doloris to feel the force of grief Fac ut tecum lugeam. grant that I may mourn with you. [8] VIII. Fac ut ardeat cor meum Grant that my heart may burn In amando Christum Deum in loving Christ, God, Ut sibi complaceam. that I may please Him. [9] IX. Sancta Mater, istud agas, Holy Mother, grant me Crucifixi fige plagas, that I fix the wounds of the crucified Cordi meo valide. firmly to my heart. Tui nati vulnerati, Of your wounded son Tam dignati pro me pati, who deigned to suffer for me Poenas mecum divide. let me share the pain. Fac me vere tecum flere, Let me truly weep with you, Crucifixo condolere, grieve over the crucified, Donec ego vixero. as long as I live. Juxta crucem tecum stare, To stand by the cross, Te libenter sociare, willingly to join with you In planctu desidero. in mourning I desire. Virgo virginum præclara, Virgin glorious among virgins, Mihi jam non sis amara, be not now harsh with me, Fac me tecum plangere. make me to weep with you. [10] X. Fac ut portem Christi mortem, Let me bear Christ's death, Passionis fac consortem, let me share his passion Et plagas recolere. And revere his blows. Fac me plagis vulnerari, Let me be wounded by his blows, Cruce hac inebriari, to be drunk with this cross Ob amorem Filii. Out of love for your Son. ⓟ & © 2016 Naxos Rights US, Inc. Page 1 of 3 ROSSINI, G.: Stabat Mater (1832 version) / Giovanna d’Arco (arr. M. Taralli) 8.573531 www.naxos.com/catalogue/item.asp?item_code=8.573531 [11] XI. Inflammatus et accensus So fired and consumed with flames, Per te, Virgo, sim defensus, through you, Virgin, may I be defended, In die judicii. in the day of judgement. Fac me cruce custodiri Let me be guarded by the cross, Morte Christi praemuniri strengthened by the death of Christ Confoveri gratia. cherished by grace. [12] XII. Quando corpus morietur, When the body shall die, Fac ut animæ donetur grant that my soul be given Paradisi gloria. the glory of Paradise. [13] XIII. Amen. Amen. Attributed to Jacopone da Todi English Translation by Keith Anderson Giovanna d’Arco Joan of Arc [14] È notte, e tutto addormentato è il mondo. Night has fallen, all the world’s asleep. Sola io veglio, ed aspetto I alone lie awake, waiting che un destrier passi, che una tromba chiami. for a charger to ride by, a trumpet to sound. Ascolto, e nulla sento I listen, but hear nothing se non l’acque, il mormorar del vento. save the flowing water, the murmuring wind. Muta ogni cosa e afflitta All is sad and silent, come l’ora che segue alla sconfitta. as in the hour that follows a defeat. O patria! O re! novella O my country! My king! A new un’aita verrà. L’onnipossente source of help will come. The Almighty dal gregge suscitò la pastorella. has called the shepherdess from her flock. Vadasi. O dolce mio loco natio, Let her go forth. O beloved place of my birth, dolce famiglia, o campi, o selve addio. my beloved family, o fields and forests, farewell. [15] O mia madre, e tu frattanto Dear mother, when I am gone la tua figlia cercherai, you will search for your daughter, affannata chiamerai anxiously you will call out to her, e nessun risponderà. but there will be no reply. Ma fra poco d’alte imprese Soon, however, your tears will be dried verrà un suon conforto al pianto: by the tidings of great deeds: ogni madre, ogni francese my mother will be the envy la mia madre invidierà. of all mothers, all people of France. O mia madre, se frattanto Dear mother, if when I am gone la tua figlia cercherai, you search for your daughter, se affannata chiamerai, if you anxiously call out to her, questo suon risponderà. the sound of these tidings will be your reply. [16] Eppur piange. Ah! repente And yet she weeps. Ah! what light qual luce balenò nell’oriente, suddenly blazes in the east – non è il sole che s’alza, it is not the rising sun, sei la mia vision, io ti conosco. you are my vision – I know you. Più grande che non suole Larger than usual, empie il ciel fulminando e mi fa segno. it fills the sky, firing bolts of lightning, and gives me a sign. Angiol di morte, tu mi chiami, io vengo. Angel of death, you summon me, I shall come. [17] Ah, la fiamma che t’esce dal guardo Ah, the flame that shoots from your eyes già m’ha tocca, m’investe, già m’arde. touches me now, engulfs me, burns me. Presto un brando, marciamo pugnando. Quick, hand me a sword, let us march and fight. Viva il re, la vittoria è con me. Long live the king, I shall bring him victory. Guida i forti la vergine al campo, The maiden leads the warriors into battle, tra i leoni l’agnello s’avventa, the lamb hurls itself into the lions’ midst, non han scampo, il Signor li spaventa. they cannot escape, the Lord fills them with fear. Viva il re, la vittoria è con me. Long live the king, I shall bring him victory. Corre la gioia Joy is flowing di core in core from heart to heart ma, queta e timida but, as they stand fra lo stupore, in wonder, they will ask ⓟ & © 2016 Naxos Rights US, Inc. Page 2 of 3 ROSSINI, G.: Stabat Mater (1832 version) / Giovanna d’Arco (arr. M. Taralli) 8.573531 www.naxos.com/catalogue/item.asp?item_code=8.573531 chi se’, domandano, the quiet and timid girl, “Who are you, chi il re salvò? you who have saved the king?” Vinse la vergine Victory belongs to the maiden che in Dio sperò. who put her faith in God. Anonymous text English Translation by Susannah Howe ⓟ & © 2016 Naxos Rights US, Inc. Page 3 of 3 .
Recommended publications
  • Marian Stations of the Cross
    MARIAN STATIONS OF THE CROSS ST. LOUISE PARISH GATHERING SONG At The Cross Her Station Keeping (Stabat Mater Dolorosa) 1. At the cross her station keeping, 3. Let me share with thee his pain, Stood the mournful Mother weeping, Who for all my sins was slain, Close to Jesus to the last. Who for me in torment died. 2.Through her heart, his sorrow sharing, 4. Stabat Mater dolorósa All his bitter anguish bearing, Juxta crucem lacrimósa Now at length the sword has passed. Dumpendébat Fílius. Text: 88 7; Stabat Mater dolorosa; Jacapone da Todi, 1230-1306; tr. By Edward Caswall, 1814-1878, alt. OneLicense #U9879, LicenSingOnline FIRST STATION SECOND STATION L: Jesus is condemned to death L: Jesus carries his Cross All: The more I belong to God the more I will be condemned. (Matthew 5:10) All: I must carry the pain that is uniquely mine if I want to be a follower of Jesus. L: We adore You, O Christ, and we praise You. (Matthew 27:28-31) (GENUFLECT) L: We adore You… (GENUFLECT) All: Because by your holy Cross You have redeemed the world. All: Because by your holy Cross... L This can’t be happening…. L: I look at my Son… All: Hail Mary, full of grace. The Lord is with you. Blessed are you among women and blessed All: Hail Mary… is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and Sing: Remember your love and your faithfulness, at the hour of our death. Amen O Lord.
    [Show full text]
  • 2013 Bibliography Gloria Falcão Dodd University of Dayton, [email protected]
    University of Dayton eCommons Marian Bibliographies Research and Resources 2013 2013 Bibliography Gloria Falcão Dodd University of Dayton, [email protected] Follow this and additional works at: http://ecommons.udayton.edu/imri_bibliographies eCommons Citation Dodd, Gloria Falcão, "2013 Bibliography" (2013). Marian Bibliographies. Paper 3. http://ecommons.udayton.edu/imri_bibliographies/3 This Bibliography is brought to you for free and open access by the Research and Resources at eCommons. It has been accepted for inclusion in Marian Bibliographies by an authorized administrator of eCommons. For more information, please contact [email protected]. Bibliography 2013 Arabic Devotion Lūriyūl.; Yūsuf Jirjis Abū Sulaymān Mutaynī. al-Kawkab al-shāriq fī Maryam Sulṭānat al-Mashāriq : yashtamilu ʻalá sīrat Maryam al-ʻAdhrāʼ wa-manāqibihā wa-ʻibādatihā wa-yaḥtawī namūdhajāt taqwiyah min tārīkh al-Sharq wa-yunāsibu istiʻmāl hādhā al-kitāb fī al-shahr al-Maryamī. Bayrūt: al-Maṭbaʻah al-Kāthūlīkīyah, 1902. Ebook. Music Jenkins, Karl. UWG Concert Choir and Carroll Symphony Orchestra performing Stabat Mater by Karl Jenkins. Carrollton, Georgia: University of West Georgia, 2012. Cd. Aramaic Music Jenkins, Karl. UWG Concert Choir and Carroll Symphony Orchestra performing Stabat Mater by Karl Jenkins. Carrollton, Georgia: University of West Georgia, 2012. Cd. Catalan Music Llibre Vermell: The Red Book of Montserrat. Classical music library. With Winsome Evans and Renaissance Players. [S.l.]: Celestial Harmonies, 2011. eMusic. Chinese Theology Tian, Chunbo. Sheng mu xue. Tian zhu jiao si xiang yan jiu., Shen xue xi lie. Xianggang: Yuan dao chu ban you xian gong si, 2013. English Apparitions Belli, Mériam N. Incurable Past: Nasser's Egypt Then and Now.
    [Show full text]
  • BATES, JAMES M., DMA Music in Honor of the Virgin Mary
    BATES, JAMES M., D.M.A. Music in Honor of the Virgin Mary during the Middle Ages and Renaissance. (2010) Directed by Dr. Welborn Young. 50 pp. Veneration of the Virgin Mary was one of the most important aspects of Christianity during the Middle Ages and Renaissance, and sacred music of the time incorporated many Marian concepts. The Virgin Mary was considered the greatest intercessor with God and Christ at a time when fear of Purgatory was strong. Prayers and devotions seeking her aid were among the most significant aspects of spiritual life, and texts of this kind were set to music for devotional use. Beyond her identity as intercessor, there were many additional conceptions of her, and these also found musical expression. The purpose of this study was, first, to explore the basic elements of Marian devotion, and, second, to examine how veneration of Mary was expressed musically. Seven musical compositions from c. 1200-1600 are examined as representative examples. The ―Marian aspects‖ of some compositions may be as straightforward as the use of texts that address Mary, or they may be found in musical and textual symbolism. Of special interest is a particular genre of motet used in private devotions. Precise and detailed information about how sacred music was used in the Middle Ages and Renaissance is scarce, but evidence related to this particular kind of devotional motet helps bring together a number of elements related to Marian meditative practices and the kind of physical settings in which these took place, allowing a greater understanding of the overall performance context of such music.
    [Show full text]
  • 7 Pope Francis Affirms the Essence of Marian Co-Redemption and Mediation
    Ecce Mater Tua Pope Francis Affirms the Essence of Marian Co-redemption and Mediation ROBERT FASTIGGI Some people believe Pope Francis has rejected the teaching of Marian co- redemption because he has made several statements that suggest he prefers not to call Mary, the co-redemptrix. We need, though, to ask what the title means. The great Mariologist, Fr. Gabriele Maria Roschini, O.S.M. (1900– 1977), gave a very brief but accurate explanation of what it means to call Mary, the Co-redemptrix of the human race: The title Co-redemptrix of the human race means that the Most Holy Virgin cooperated with Christ in our reparation as Eve cooperated with Adam in our ruin.1 From prior statements of Pope Francis, it’s clear that he affirms this doctrine. In his morning meditation for the Solemnity of the Annunciation in 2016, the Holy Father states: “Today is the celebration of the ‘yes’… Indeed, in Mary’s ‘yes’ there is the ‘yes’ of all of salvation history and there begins the ultimate ‘yes’ of man and of God: there God re-creates, as at the beginning, with a ‘yes’, God made the earth and man, that beautiful creation: with this ‘yes’ I come to do your will and more wonderfully he re-creates the world, he re-creates us all”. Pope Francis recognizes Mary’s “yes” as an expression of her active role in salvation history—a role that we can call coredemptive. During his January 26, 2019 vigil with young people in Panama, the Holy Father spoke of Mary as “the most influential woman in history.” He also referred to the Blessed Virgin as the “influencer of God.” Mary influenced God by saying yes to his invitation and by trusting in his promises.
    [Show full text]
  • The Way Cross
    Because of Covid-19 concerns, please keep this booklet as your personal copy to use throughout Lent. The Way of the Cross St. Benedict Catholic Church A Commentary on THE STATIONS OF THE CROSS– Could you walk a mile in Jesus’s shoes? The Stations of the Cross bring us closer to Christ as we meditate on the great love He showed for us in His most sorrow- ful Passion! Tradition traces this loving tribute to our Lord back to the Blessed Mother retracing her son’s last steps along what became known as the Via Do- lorosa (the Sorrowful Way) on His way to His Crucifixion at Calvary in Jerusalem. Pilgrims to the Holy Land commemorated Christ’s Passion in a similar manner as early as the 4th century A.D. The Stations of the Cross developed as devotion in earnest, however, around the 13th to 14th centuries. It became a way of allow- ing those who could not make the long, expensive, arduous journey to Jerusa- lem to make a pilgrimage in prayer, at least, in their church! Although the origi- nal number of stations varied greatly, they became fixed at 14 in the 18th centu- ry. The Stations of the Cross themselves are usually represented in churches by a series of 14 pictures or sculptures covering our Lord's Passion. They are meant to be “stopping points” along the journey for prayer and meditation. The Stations of the Cross provide us with great material for prayer and medita- tion. Tracing Jesus’s journey from condemnation to crucifixion increases both our sorrow for our sins and our desire for His help in avoiding temptations and in bearing our own crosses.
    [Show full text]
  • Stabat Mater
    in five movements for quintet for in five movements stabat mater in five movements for quintet Gianmario Liuni 1 if faith gives your life meaning and music is your Sequentia vocation, sooner or later your heart will encoura- (in Festo Septem ge you to express both of these indispensable ele- Dolorum B.M.V.) ments of your daily life through your music. Just as it comes naturally to each musician to Text: dedicate a piece to his wife or children because Attributed there is nothing more marvelous in life, which is to Jacopone da Todi something i've done as well, i spontaneously de- cided, albeit with trepidation and reverence, to ho- nor the virgin mary, our mother, with my music. but how does one honor the virgin mary? What does it truly mean to pay homage to her? my first sincere intent is to give her "something beautiful", just as one offers a lit candle or a flo- wer. but there is more. the mother of God is the Co-redemptrix who renews our faith through Christ and indicates the path to reach him. therefore, paying homage to the virgin mary through music means speaking of her so that she speaks to us about her son Jesus. it means writing music that uplifts us, revealing the unique mystery of the son and mother's holiness that allows us to comprehend in the gazes of the mother and son the "sanctity of suffering seen in the mirror and recognized as the same" (J.m. ibañes Langlois). this was not the first time thati had worked on a sacred piece.
    [Show full text]
  • Stabat Mater Dolorosa by Jacopone Da Todi (1230-1306) a Reflection
    Stabat mater dolorosa by Jacopone da Todi (1230-1306) A Reflection by Canon Jim Foley The liturgical hymn known as Stabat Mater is another example of the great medieval tradition of religious poetry which has enriched the church for a thousand years. Unfortunately, it has suffered much the same fate as the Dies Irae and Vexilla Regis. It has quietly disappeared from the public liturgy of the Church since Vatican II. If it has survived longer than most, it is probably because of the Stations of the Cross, a devotion still popular during Lent and Passiontide. One verse of our hymn is sung between the reflections associated with each Station. The verses are usually sung to a simple, but attractive plainsong melody, as the congregation processes around the church, pausing before each Stataion. The devotion itself, like the Christmas Crib, is attributed to Saint Francis of Assisi (1181- 1226). It was certainly promoted by the Franciscan tradition of piety to the extent that, for many years, the Franciscans alone had the faculty to dedicate the Stations of the Cross in places of worship. The Franciscans also pioneered research and excavations in the Holy Land in the hope of discovering the original Via Dolorosa across Jerusalem to Calvary. However, research by rival Jesuit and Dominican scholars in the Holy City has led to the promotion of other possible routes for the Via Dolorosa! While a student in Jerusalem I was surprised to see a citizen carrying a heavy wooden cross on his shoulders as he made his way, evidently unnoticed, along a busy street.
    [Show full text]
  • Stabat Mater Dolorosa
    STABAT MATER DOLOROSA Latin Hymn Celebrated During Lent Associated with the Stations of the Cross Introduction with Latin Lyrics & Common English Translation Our Lady Help of Christians – Utica, NY Http://www.olhcutica.com STABAT MATER DOLOROSA Adapted from a Translation by Edward Caswall The Stabat Mater Dolorosa started as a Latin poem in the 13th century about the Seven Dolors (Sorrows) of the Virgin Mary’s suffering at the Cross. It was turned into one of the most powerful Catholic Latin Hymns and was added to the missal by Pope Benedict XIII in 1727 for the Feast of the Seven Dolors of the Blessed Virgin Mary. The Church commemorates by two feasts, the martyrdom suffered by Our Lady in union with the Passion of her Son. The first feast especially, on the Friday before Good Friday, commemorates the Compassion of Mary; the second, kept on September 15, the devotion of the Seven Sorrows. At the Presentation of Our Lord in the Temple, Simeon said to Mary His mother: “Behold this Child is set for the fall, and for the resurrection of many in Israel, and for a sign which shall be contradicted; And thy own soul a sword shall pierce, that, out of many hearts, thoughts may be revealed.” The Seven Sorrows of the Blessed Virgin Mary • The Prophecy of Simeon • The flight into Egypt • Loss of the Holy Child at Jerusalem • Meeting Jesus on his way to Calvary • Standing at the foot of the Cross • Jesus being taken from the Cross • The Burial of Christ The Hymn Stabat Mater Dolorosa has been set to music by many composers, some of the most recognizable being, Joseph Hayden, Gioachino Rossini, Giuseppe Verdi, and Antonio Vivaldi.
    [Show full text]
  • Stabat Mater 1831/32 Original Version with Sections by Giovanni Tadolini Giovanna D’Arco – Cantata
    Gioachino ROSSINI Stabat Mater 1831/32 Original version with sections by Giovanni Tadolini Giovanna d’Arco – Cantata Majella Cullagh • Marianna Pizzolato José Luis Sola • Mirco Palazzi Camerata Bach Choir, Poznań • Württemberg Philharmonic Orchestra Antonino Fogliani Gioachino Rossini (1792-1868) * and Giovanni Tadolini (1789-1872) ** Gioachino Rossini Stabat Mater Giovanna d’Arco (°) 1831/32 original version, **orchestrated by Antonino Fogliani (b. 1976) ............................ 56:07 Solo cantata (1832) with piano accompaniment orchestrated by Marco Taralli (b. 1967) .....15:13 $ 1 I. Introduction: Stabat Mater dolorosa * ........................................................... 8:35 I. Recitativo: È notte, e tutto addormentato è il mondo ................................. 4:44 (Soloists and Chorus) (Andantino) % 2 II. Aria: Cujus animam gementem ** .................................................................. 2:40 II. Aria: O mia madre, e tu frattanto la tua figlia cercherai .............................. 3:29 (Tenor) (Andantino grazioso) ^ 3 III. Duettino: O quam tristis et afflicta ** ............................................................. 3:34 III. Recitativo: Eppur piange. Ah! repente qual luce balenò ............................ 1:14 (Soprano and Mezzo-soprano) (Allegro vivace – Allegretto) & 4 IV. Aria: Quae moerebat et dolebat ** ................................................................. 2:51 IV. Aria: Ah, la fiamma che t’esce dal guardo già m’ha tocca ......................... 5:46 (Bass) (Allegro vivace
    [Show full text]
  • The Parish and Ward Church of St Botolph-Without-Bishopsgate EC2M 3TL
    The Parish and Ward Church of St Botolph-without-Bishopsgate EC2M 3TL The Deposition, Rogier van der Weyden 1399/1400–1464, Prado, Madrid Our Lady at the Cross A Sequence of Music and Reflections for Passiontide Wednesday in Holy Week, 31 March 2021 at 1.10 pm The Revd David Armstrong, Priest-in-Charge Iestyn Evans, Director of Music 020 7588 3388 [email protected] www.botolph.org.uk St Botolph-without-Bishopsgate - a place of calm, sanctuary and God’s love in the City Please stand at the ringing of the bell. The priest enters in silence. Please sit when the priest sits. A Sequence of Music and Reflections The music comprises extracts from the setting of Stabat Mater dolorosa by Pergolesi. The portions of the Stabat Mater which are not being sung today are printed for your private meditation on page 6, together with some notes on the composer and the text. The reflections are taken from the writings of St John Henry Newman. The painting of which a poster is on display is the great Deposition of Rogier van der Weyden; there are some notes on the painting on page 7. Stabat Mater: 1 Stabat Mater dolorosa At the Cross her station keeping, Iuxta crucem lacrimosa Stood the mournful Mother weeping, Dum pendebat Filius. Close to Jesus to the last. The Priest welcomes the Congregation. PRAYERS concluded with the Lord’s Prayer said by all: Our Father, who art in heaven, hallowed be thy Name; thy kingdom come, thy will be done; on earth as it is in heaven.
    [Show full text]
  • An Interesting Phenomenon in the History of Music Is That Many Pieces
    Tudor Dedications to the Blessed Virgin: History, Style, and Analysis of Music from the Eton Choirbook - Vincent C. K. Cheung n interesting phenomenon in the history of music is that many pieces now regarded as great compositions had suffered long periods of A neglect before they began to receive the attention they deserve. A great majority of Mozart’s piano concerti were very rarely performed before the Great Wars; J. S. Bach’s cello suites were practically unknown to the musical world until Casals’ rediscovery of them in the 1920’s; similarly, the glorious Eton Choirbook, containing Magnificats and Marian antiphons for expressing Catholic sentiments, had been left virtually untouched on the shelves of the Eton College Library since around 1558 when the last Tudor monarch, Elizabeth I, restored Protestantism as the official religion of England, until the end of the 19th century. The existence of the Eton manuscript was first brought to musicologists’ notice by M. R. James. Once the Provost of Eton, James published in 1895 his Catalogue of the Manuscripts in the Library of Eton College which contains not only a description of the Choirbook, but also a transcription of its index. Following James’ catalogue were two detailed accounts of the manuscript, presented respectively by W. B. Squire in 1898 before the Society of Antiquaries, and D. A. Hughes in 1927 before the Musical Association. Both Squire and Hughes came across the Choirbook while searching for a missing link in the history of English music: that between the glory of Dunstable in the 1440’s and the rise of the Fayrfax school in the early 16th century.
    [Show full text]
  • Eucharistic, Benediction & Hymns to Mary
    An Anthology of Hymns from The Catholic Hymnal Eucharistic Hymns Benediction Hymns Hymns to Mary The Catholic Hymnal Ellen Doll Jones & Noel Jones, Editors WWW.THECATHOLICHYMNAL.COM THE CATHOLIC HYMNAL PROJECT™ Under Development PUBLISHED Eucharistic Hymns Hymns To Mary An Anthology of Hymns from The Catholic Hymnal Eucharistic Hymns Benediction Hymns Hymns To Mary Blank pages included to eliminate page turns by organists and singers. www.thecatholichymnal.com ©2009 Frog Music Press www.frogmusic.com The Catholic Hymnal 201 CR 432, Englewood, TN 37329 regorian Chant formed the first hymns. Chant has two forms, syllabic and melismatic. Some of the earliest hymns are chants, set to a repeating, mainly syllabic text, with a bit of melisma thrown in. Examples include Adoro Te De- Gvote and Jesu Dulcis Memoria. As the use of local language for devotions outside of Mass became popular, writers, com- posers and eventually publishers rose to the challenge. English hymns were commonly published as text only, no music, in the mid to late 1800’s. By the early 1900’s, published hymn books which combined text and music were popular. By studying these old hymn books, one can trace the development as hymns as we know them today - from single line chant; to chant melodies harmonized in block harmony; and finally, four vocal parts written on two staves. “Melody only” versions were often published for the congregation, but it was also common to print “SA,” two part hymnals. In this hymnal you will find common versions of “Bring Flowers Of The Rarest,” “ Mother, Dearest,” and “Mother Dear, O Pray For Me,” which were written for two parts (female voices) with a simple Alberti Bass accompaniment in the left hand.
    [Show full text]